When I write a screenplay, and when I direct, I always pull lines out.

I write in the mornings. During my down time.

You gotta make the movie you want to make.

I'm not saying they won't be bigger projects someday.

And I love doing my own projects; that's what I've always wanted to do.

My partner, Beth Alexander, and I want to produce smaller films, but commercially viable films that will enable me to make the kinds of movies I want to make.

I have consciously not taken the role of a gangster, which has been offered to me far too many times.

The constraints of melodrama can be a great blessing, because they demand that all the characters involved - as absurd and extreme as they may initially seem - must stay utterly rooted in their own reality, or the whole project collapses.

It's more interesting because you get to research the history of the period, and all the different aesthetic elements that make a film, particularly this film, so stunning.

As a director you have to be careful you don't over-design the film. You have to be careful that the period aspect does not take over.

I didn't know you had to change diapers so often. I couldn't believe it - we must change them 10 times a day - each. So that's 20 diapers a piece a day.

When I write a screenplay, and when I direct, I always pull lines out.

I never go overbudget on my movies.

I like to see how I can do it for less money.

I was dissatisfied just being an actor.

People wear shorts to the Broadway theater. There should be a law against that.

As a director, I also get to sit and watch actors and learn from them in a way that I don't get to do when I'm just acting.

Big Night and The Impostors are both things that I wrote.

Sometimes it's difficult directing yourself on film because you can't quite separate yourself from the subject.

But usually I'll wake up and start writing about nine o'clock. I'll probably write for about three hours, and I'll do that over the next month and a half.

I'm actually one who will encourage directors to cut my lines.

I was always attracted to the past as a kid.

I mean, Scorsese's a genius, and that's one way of shooting.

Even The Impostors, as silly as it is, is a very intimate film, in a way.

The thing is, I'm a very practical filmmaker.

I've always considered myself an actor first and foremost.

I would rather just do the things I want to do.

I'm not interested in wasting money on a project.

So yes, I hope to act in other people's movies, big and small, because that's how I make my living, really.

Like Joseph Mitchell, I would scour the streets of New York and find little pieces of what other people think of as junk - and collect it.

I don't like to move the camera that much anyway.

I wanted to be an actor when I was a kid.

The majority of directors I've worked with didn't know how to talk to actors.

I make time to write.

I like to use all of myself, and acting wasn't doing that.

I'd read Up in the Old Hotel, and I wanted to do something with Mitchell's stuff for a long time.

I'm a control freak. Totally.

I love directing - it's always so involving, so challenging.

There was a point when I was 15 or 16 that I realized that my father wanted me to be a loner. I decided, 'It's okay to be an introvert, but I don't want to be a loner. I want a few other people in my life.'

We often forget that everything we see, animate or inanimate, is a visual manifestation of the work of our invisible God. We have become so accustomed to trees, mountains, sky, air, water, flowers, animals, vegetables and people that we no longer see them for what they are - God's work.

In times of crisis its wonderful what the imagination will do.

I don't read other science fiction. I don't read any at all.

I was 22 when JFK was murdered, and I will never recover from it... Never.

I love Ireland. I feel very at peace there. It's just magical and beautiful.

The cross is the place where and the means by which God loved us to the uttermost.

Riding exhilarated me; it gave me a joy and a purpose.

I think every movie changes me and is life changing, especially movies you direct.

If you put me in charge of the medical research budget, I would cancel all primary research, I would cancel all new trials, for just one year, and I would spend the money exclusively on making sure that we make the best possible use of the clinical evidence that we already have.

At the end of the game the king and the pawn go back in the same box.